Sculpture - Escultura: Henry Moore - 1950-59 - Part 1 - Links
Posted by Ricardo Marcenaro | Posted in Sculpture - Escultura: Henry Moore - 1950-59 - Part 1 - Links | Posted on 19:56
Open your mind, your heart to other cultures
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Henry Moore
Two Standing Figures with Studies on the Left circa 1950
Lithograph on paper
image: 260 x 359 mm
on paper, print
Presented by the artist 1975
Lithograph on paper
image: 260 x 359 mm
on paper, print
Presented by the artist 1975
Helmet Head No. 1 1950
Bronze
object: 400 x 355 x 300 mm
sculpture
Presented by the Friends of the Tate Gallery 1960
In Helmet Head No.1, a protective helmet encloses a separate bronze form, which includes a nose and mouth, suggesting a face. Moore made a number of Helmet sculptures, but this one is more angular and mechanistic than others in the series, evoking memories of the Second World War, in which soldiers and civilians alike used protective helmets and masks. It was made just as the outbreak of hostilities in Korea threatened to escalate into a wider international conflict, and may reflect Moore’s anxieties over the threat of nuclear war.
(From the display caption February 2007)
Bronze
object: 400 x 355 x 300 mm
sculpture
Presented by the Friends of the Tate Gallery 1960
In Helmet Head No.1, a protective helmet encloses a separate bronze form, which includes a nose and mouth, suggesting a face. Moore made a number of Helmet sculptures, but this one is more angular and mechanistic than others in the series, evoking memories of the Second World War, in which soldiers and civilians alike used protective helmets and masks. It was made just as the outbreak of hostilities in Korea threatened to escalate into a wider international conflict, and may reflect Moore’s anxieties over the threat of nuclear war.
(From the display caption February 2007)
Maquette for Standing Figure 1950
Bronze and wood
object: 275 x 94 x 75 mm
sculpture
Bequeathed by Elly Kahnweiler 1991 to form part of the gift of Gustav and Elly Kahnweiler, accessioned 1994
By the mid-1950s Moore had almost entirely eliminated drawing from his creative process and explored his ideas through small maquettes. These had an intrinsic quality of immediacy or spontaneity and allowed him to imagine the finished product in the round. In order to translate the scale of the work more effectively, he often made larger working models as an intermediate stage between the maquette and the finished sculpture. Moore’s maquettes were typically cast in bronze in editions of up to ten. The sculptor strove for monumentality in his work and tried to imbue the same quality in the small maquettes. He also took a great deal of care with their finish. Some were more polished than others, some darker, some greener. Moore did all the patination himself, treating the bronze with different acids to achieve different effects then working on it by hand, rubbing and wearing it down.
(From the display caption September 2004)
Bronze and wood
object: 275 x 94 x 75 mm
sculpture
Bequeathed by Elly Kahnweiler 1991 to form part of the gift of Gustav and Elly Kahnweiler, accessioned 1994
By the mid-1950s Moore had almost entirely eliminated drawing from his creative process and explored his ideas through small maquettes. These had an intrinsic quality of immediacy or spontaneity and allowed him to imagine the finished product in the round. In order to translate the scale of the work more effectively, he often made larger working models as an intermediate stage between the maquette and the finished sculpture. Moore’s maquettes were typically cast in bronze in editions of up to ten. The sculptor strove for monumentality in his work and tried to imbue the same quality in the small maquettes. He also took a great deal of care with their finish. Some were more polished than others, some darker, some greener. Moore did all the patination himself, treating the bronze with different acids to achieve different effects then working on it by hand, rubbing and wearing it down.
(From the display caption September 2004)
Two Seated Figures 1951-70
Intaglio print on paper
image: 76 x 127 mm
on paper, print
Presented by the artist 1975
Intaglio print on paper
image: 76 x 127 mm
on paper, print
Presented by the artist 1975
Reclining Figure 1951-66
Intaglio print on paper
image: 76 x 152 mm
on paper, print
Presented by the artist 1975
Intaglio print on paper
image: 76 x 152 mm
on paper, print
Presented by the artist 1975
Draped Reclining Figure 1951-62
Intaglio print on paper
image: 156 x 203 mm
on paper, print
Presented by the artist 1976
Intaglio print on paper
image: 156 x 203 mm
on paper, print
Presented by the artist 1976
Reclining Figure 1951
Plaster and string
object: 1054 x 2273 x 892 mm, 271 kg
sculpture
Presented by the artist 1978
In the late 1940s, the Arts Council invited Moore to submit ideas for a sculpture to be sited at the South Bank site of the Festival of Britain. Although the organising committee suggested a family theme, Moore chose to make this tense, skeletal reclining form. The work on display is the plaster model for the bronze, which was cast in an edition of five.
(From the display caption September 2004)
Plaster and string
object: 1054 x 2273 x 892 mm, 271 kg
sculpture
Presented by the artist 1978
In the late 1940s, the Arts Council invited Moore to submit ideas for a sculpture to be sited at the South Bank site of the Festival of Britain. Although the organising committee suggested a family theme, Moore chose to make this tense, skeletal reclining form. The work on display is the plaster model for the bronze, which was cast in an edition of five.
(From the display caption September 2004)
Animal Head 1951
Plaster
object: 270 x 216 x 295 mm
sculpture
Presented by the artist 1978
Moore tended to find inspiration for his work in natural forms. Although cast in plaster, Moore’s sculpture has the appearance of a pebble or piece of worn bone, an indefinable organic form that takes on the identity of some hybrid animal. The ghostly, grotesque quality of Animal Head, common to certain of Moore’s other works, carries connotations of decay and mortality.
(From the display caption April 2009)
Plaster
object: 270 x 216 x 295 mm
sculpture
Presented by the artist 1978
Moore tended to find inspiration for his work in natural forms. Although cast in plaster, Moore’s sculpture has the appearance of a pebble or piece of worn bone, an indefinable organic form that takes on the identity of some hybrid animal. The ghostly, grotesque quality of Animal Head, common to certain of Moore’s other works, carries connotations of decay and mortality.
(From the display caption April 2009)
King and Queen 1952-3, cast 1957
Bronze
object: 1640 x 1390 x 910 mm
sculpture
Presented by the Friends of the Tate Gallery with funds provided by Associated Rediffusion Ltd 1959
Although this sculpture was made around the time of Elizabeth II’s coronation, its subject is not the modern constitutional monarchy. Instead it focuses on the ancient conception of the monarch as a divine or divinely blessed being.
Moore has combined naturalistic elements, for example the hands and feet, with more abstracted or primitivised ones, such as the heads. His intention was to suggest the blend of the human and celestial within kingship. This image of stable and benevolent authority resonated widely in the post-war climate of uncertainty.
(From the display caption August 2004)
Bronze
object: 1640 x 1390 x 910 mm
sculpture
Presented by the Friends of the Tate Gallery with funds provided by Associated Rediffusion Ltd 1959
Although this sculpture was made around the time of Elizabeth II’s coronation, its subject is not the modern constitutional monarchy. Instead it focuses on the ancient conception of the monarch as a divine or divinely blessed being.
Moore has combined naturalistic elements, for example the hands and feet, with more abstracted or primitivised ones, such as the heads. His intention was to suggest the blend of the human and celestial within kingship. This image of stable and benevolent authority resonated widely in the post-war climate of uncertainty.
(From the display caption August 2004)
Upright Internal/External Form 1952-3
Plaster
object: 1956 x 679 x 692 mm, 295 kg
sculpture
Presented by the artist 1978
Moore re-worked this motif in various sizes in bronze and elmwood. The notion of a protective outer shell sheltering an inner core is related to one of Moore’s major themes: the mother and child. A cast of Large Form Upright Internal/External Form, which at about twenty feet high is the largest related work, is sited on First National Plaza in Chicago.
(From the display caption August 2004)
Plaster
object: 1956 x 679 x 692 mm, 295 kg
sculpture
Presented by the artist 1978
Moore re-worked this motif in various sizes in bronze and elmwood. The notion of a protective outer shell sheltering an inner core is related to one of Moore’s major themes: the mother and child. A cast of Large Form Upright Internal/External Form, which at about twenty feet high is the largest related work, is sited on First National Plaza in Chicago.
(From the display caption August 2004)
Helmet Head and Shoulders 1952
Bronze
object (Incl. base): 190 x 205 x 150 mm, 4 kg
sculpture
Presented by the artist 1978
British sculptor Henry Moore once described the helmet motif as ‘a recording of things inside other things’. It was related to a major theme in his work: the mother and child. While some of Moore’s sculptures present this relationship as benign and nurturing, other works suggest something more mysterious and ambiguous. Although the protective wings gently envelop the interior void, the toothed visor and claw shape impart a sense of menace, even aggression. The scuffed patina implies some ancient, battle-scarred creature.
Henry Moore was born in Castleford, West Yorkshire in 1898 and died near Much Hadham, Hertfordshire in 1986.
(From the display caption August 2004)
Bronze
object (Incl. base): 190 x 205 x 150 mm, 4 kg
sculpture
Presented by the artist 1978
British sculptor Henry Moore once described the helmet motif as ‘a recording of things inside other things’. It was related to a major theme in his work: the mother and child. While some of Moore’s sculptures present this relationship as benign and nurturing, other works suggest something more mysterious and ambiguous. Although the protective wings gently envelop the interior void, the toothed visor and claw shape impart a sense of menace, even aggression. The scuffed patina implies some ancient, battle-scarred creature.
Henry Moore was born in Castleford, West Yorkshire in 1898 and died near Much Hadham, Hertfordshire in 1986.
(From the display caption August 2004)
Mother and Child 1953
Bronze
object: 530 x 270 x 345 mm, 16 kg
sculpture
Moore treated the subject of mother and child repeatedly. This sculpture is one of a group of small bronzes made by the artist during the early 1950s that focus specifically on the relationship between mother and child. During the Second World War Moore's interpretation of the theme emphasised the mother's nurturing role, a response to the human suffering of war. He continued to explore this aspect of the subject in the 1950s. Here he distorts the figures to suggest the submission of the mother to the aggressive needs of the child as it tries to suckle from her breast.
(From the display caption February 2010
Bronze
object: 530 x 270 x 345 mm, 16 kg
sculpture
Moore treated the subject of mother and child repeatedly. This sculpture is one of a group of small bronzes made by the artist during the early 1950s that focus specifically on the relationship between mother and child. During the Second World War Moore's interpretation of the theme emphasised the mother's nurturing role, a response to the human suffering of war. He continued to explore this aspect of the subject in the 1950s. Here he distorts the figures to suggest the submission of the mother to the aggressive needs of the child as it tries to suckle from her breast.
(From the display caption February 2010
Seated Figure 1954
Pencil on paper
support: 561 x 382 mm
on paper, unique
Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994
The figures in Moore’s drawings were always sculptural in feeling. In this drawing, Moore’s mark-making is restless and impulsive, but still gives the figure an illusion of volume and monumentality. A good friend of the Kahnweilers, Moore gave them Seated Figure as a present, inscribing it ‘For Gustav and Elly from Henry Moore’.
(From the display caption September 2004)
Pencil on paper
support: 561 x 382 mm
on paper, unique
Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994
The figures in Moore’s drawings were always sculptural in feeling. In this drawing, Moore’s mark-making is restless and impulsive, but still gives the figure an illusion of volume and monumentality. A good friend of the Kahnweilers, Moore gave them Seated Figure as a present, inscribing it ‘For Gustav and Elly from Henry Moore’.
(From the display caption September 2004)
Links:
Sculpture - Escultura: Henry Moore - 1940-49 - Part 1 - Drawing - Dibujos - Links Sculpture - Escultura: Henry Moore - 1940-49 - Part 2 - Drawing - Dibujos - Links
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Sculpture - Escultura: Henry Moore - 1950-59 - Part 1 - Links
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